Issuu on Google+

DEZINE I S S U E

TYPOGRAPHY AND TRUTH Does the font you use really matter? And does it affect our perception?

0 1

FEATURED: JOHN THATCHER We take a look at the work of California based photographer, John Thatcher.

DEADLINES OR DAYDREAMS? Connor Sherwood ponders, when do designers get the most work done?


W E LCO M E TO

DEZINE Welcome to Dezine, a magazine dedicated to the creative. Issue 1 features some amazing talents from across the world and showcases a selection of their excellent work. We hope you enjoy reading it as much as we enjoyed putting it together. Before we begin, we’d like to thank all of our contributors and featured artists - you’ve elevated the magazine to much more than we ever thought it could be. And to the you, the reader - We’re glad to have you here with us for the premiere issue! Enjoy!


CONTENTS T O P F E AT U R E S

FEATURED: JOHN THATCHER

06 INTERVIEW: KARA CLIFFORD

We take a look at the work of John Thatcher, a photographer from the Bay Area in California, who works primarily in San Fransisco.

ALSO THIS ISSUE

25 GRAPHIC DESIGN TOP 10

43 THE CUSTOMER IS

We run down this issue’s top ten Graphic Design projects from Behance!

But what about the client?

29 TYPOGRAPHY AND TRUTH

46 PHOTOSHOOT: SMOKE

Does the font I use really matter? And does it affect our perception?

30 FEATURED: EDC DESIGN Creating bold, colourful pieces with an edge mixing the two and create something fresh.

ALWAYS RIGHT, RIGHT?

We share with you a fantastic project by Robert MacNeil.

54 THE IMPORTANCE OF PHOTOGRAPHY Charlie Watkinson explains the importance of photography.

32 GRAFFITI TO GRAPHICS Stephen Waterfield tells us of his journey from graffiti artist to graphic designer.

56 FEATURED:

34 PHOTOSHOOT: LOST

A selection of photography from Montrealbased photographer, Ramona Vialard.

We showcase the talents of German photographer Ole Roesner from Berlin.

RAMONA VIALARD

66 PHOTOJOURNAL: 38 DEADLINES OR DAYDREAMS

IQUITOS, PERU

Connor Sherwood ponders, when do designers get the most work done?

Geraint Rowland shares some poignant photography from his travels.

40 BUSINESS BRANDING... Kiki McMurrick explains the importance of business branding and visual identity.

18

Kara, a graphic designer from Huddersfield in the UK, tells us about her work and how her feminism affects her designs.

70 SELECTED PROJECTS A selection of submissions from our readers.


WHO’S F E AT U R E D ?

John Thatcher The incredibly talented head of photography for a fashion company called Le Tote.

Photographer: John Thatcher Model: Roxanna Dunlop

Kara Clifford A Graphic Designer from the UK whose work is influenced by feminism and equality.

S P E C I A L T H A N KS TO. . .

CHIEF EDITOR: Benjamin S. Goldsmith

CONTENT EDITOR: Evangeline South

EDITORIAL DESIGN:

Ramona Vialard A photographer from Montreal, Quebec who’s been taking photos for most of her life.

Ben Wainman

DESIGNERS: Joe Berry, Kara Clifford, EDC Design, Shaun Mulhern, Stephen Waterfield

MODELS: Johanna Desjardinsk, Roxanna Dunlop, Katie Jade Durham, Gernot Edelmann, Lizzie Gunst, Jessica Chin King, Amber Lindamood, Cassandra Loomans, Ivy Melodie LoPatriello, Julia Martin, Bryn Newman, Michelle Randolph, Terin Rothernel, Chloe Sugar, Emmy Zein

EDC Design Drawing from a very early age, EDC creates inventive characters with a distinct style.

PHOTOGRAPHERS: Robert MacNeil, Ole Roesner, Geraint Rowland, John Thatcher, Ramona Vialard

WRITERS: Connor Sherwood, Stephen Waterfield, Kiki McMurrick, Charlie Watkinson

Thanks to all of our featured artists for the premiere issue!


F E AT U R E D P H OTO G R A P H E R

JOHN T H AT C H E R John lives in the Bay Area and works in San Francisco, California as head of photography for a fashion company called Le Tote. He is inspired by Americana and vintage everything. Multi-talented, John plays country music in his spare time and writes songs.

Featured Models Roxanna Dunlop, Lizzie Gunst, Amber Lindamood, Julia Martin, Bryn Newman, Michelle Randolph, Emmy Zein


J O H N T H ATC H E R


J O H N T H ATC H E R


F E AT U R E D D E S I G N E R

KARA CLIFFORD We interviewed self-proclaimed feminist and graphic designer Kara Clifford from Huddersfield, UK.

Featured Projects The F Word, S/S 18, ESOTSM


“I had noticed a rise in people talking about feminism on social media. I wanted answers for why women or men felt that they couldn't admit to being a feminist, when the dictionary definition is 'equality of the sexes.'�

Tell us a bit about yourself, where did you study?

I have just finished 6 years of studying graphic design. I first found my love for design and in particular editorial design whilst studying an Extended Diploma in art and design at Leeds College of Art. Afterwards I did a BA (hons) degree at The University of Huddersfield, where I was then offered a scholarship to complete a Masters degree in graphic design. I have been

interested in design all my life, without really noticing. When I was younger, I used to rip pages or elements that I liked out of magazines and stick them all over my wall. I get my inspirations from everything around me, and I believe that working alongside people from different courses such as fashion and textiles students on my MA degree has definitely made me a stronger designer.


What came first, your interest in feminism or design?

Definitely design. Up until last year I didn't even call myself a feminist. I was pretty ignorant to it, which I have found that a large majority of people are. There is a pretty awful stereotype of what a feminist is. Some people instantly hear the word 'feminism' and think of mad women running around burning bras and hating men. I remember even on my MA degree I had male tutors asking me 'Oh you're doing your project on feminism, are you a feminist then?' and me being hesitant on saying yes. This was literally because I didn't want people to think that I fit into that false stereotype of what a feminist is. What made you decide to bring the two together?

On my BA degree, I did my final project on Equality, and alongside this I decided to write my dissertation on 'Feminism within Graphic Design'. I did it kind of on a whim. I didn't really know what to write about, and I wanted it to link in with my final project. So there I was researching a topic that I knew nothing about. Once I started, I realised that not a lot of people had wrote about both design and feminism, and so I saw this as an exciting challenge. At this point I

still didn't refer to myself as a feminist. I still felt ashamed to admit to being one. Fast forward about a year, I was ready to start my final project on my MA degree. I decided to look at Feminism again. The reason for this being I had noticed a rise in people talking about feminism on social media. I wanted answers for why women or men felt that they couldn't admit to being a feminist, when the dictionary definition is 'equality of the sexes.' In the middle of the research process I came across a book called 'Reclaiming the F Word: The New Feminist Movement' by Kristin Aune and Catherine Redfern. After reading this, I decided that I wanted to focus my project on the fourth wave of feminism. To put it as simply as I can fourth wave feminism is basically the new feminist movement that is 'connected by technology'. As a constant social media and technology user, I instantly fell in love with this movement. Now when I get asked if I'm a feminist, I almost want to reply with 'are you not a feminist?’ Women have used design to communicate their messages for as long as they have been fighting for equal rights and I felt that this connection was a perfect way to start combining both feminism and design.


What projects are you currently working on that we should look out for?

course, but back at the beginning. I started looking at the film Eternal Sunshine of the Spotless Mind in great depth. I looked at the theories and methodologies throughout the film, and from here I decided to experiment with this using distortion, which then lead to glitch. My favourite form of glitching is photocopier / scanner manipulation. All of my experiments for this can be found on my Instagram. I am starting another personal project called 'Public' where I am collecting a list of weird and wonderful phrases that I hear in public. I'm not quite sure how I'm going to display these once I have the collection yet, but I have a few ideas and it's definitely something to look out for!

I am currently having a lot of fun with combining glitch art with design and typography. This also started on my MA

You can read “The F Word” for yourself at thefword.online

Which project that you’ve worked on is the one you’re most proud of?

I would have to say ‘The F Word’. It is not only my most recent, but also the biggest project that I have completed by myself. I collaborated with a selection of incredible artists from all over the world, who I found through social media. The idea behind this project was to create a magazine that informed people on fourth wave feminism. I have had amazing feedback from the magazine and the project and I am very proud of it.


CUSTOM BLOG DESIGN, WEB DESIGN + BRAN DING WWW.LIT TLEBLUE DEER DESIGN.COM


GRAPHIC DESIGN

TOP 10 What follows is a meticulously selected list of our favourite projects from Behance for this issue. Be sure to follow the links and check out the full projects for yourselves - and don’t forget to give the artists your appreciation!

NO. 1 - DEAF MAGAZINE

NO. 2 - LAUS &

Deaf and severely hearing impaired people communicate in sign language. For most it is their first language and is considered by many as their native language. It is a(an independent) separate language and is very different to the spoken and written language. The DEAF MAGAZINE communicates in both of these languages. It is a life-style and society magazine about the culture of german sign language. Through the use of mixed media and augmented reality technology, it links the written language directly with the german sign language and makes it easier to his readers to affiliate information and allows to a better understanding of the written language. It also opens up even hearing readers, access to the german deaf culture. The DEAF MAGAZINE constitutes, articles about events and trends of the culture of german sign language, special personalities, news and opinions to the accessibility in Germany and trips to the deaf culture of other countries.

To celebrate the first edition of the international Laus Awards, the Laus Annual has undergone a major redesign both in terms of form and content. Besides featuring the awarded projects, it accommodates articles, essays, interviews and the celebrated Laus & Connections posters, designed by 46 international design luminaries. The design celebrates the book as a physical object by acknowledging the fact that readers demand content and context in the digital age. “Death to the thumbnails” was the guiding principle behind the making of the book. Edited by Óscar Germade and Astrid Stavro, the annual includes articles by Andrew Howard on editorial design, Andreu Balius on the modular typeface SuperVeloz, Emilio Gil on Pioneers of Graphic Design, Norberto Chaves on Yves Zimmermann alongside interviews by Quico Vidal and Alberto Anaut (director of La Fabrica) amongst many others.

MORPHORIA DESIGN COLLECTIVE - Düsseldorf, Germany

Solo . - Barcelona, Spain

www.behance.net/gallery/8013479/DEAF-MAGAZINE

www.behance.net/gallery/41126323/Laus-


G R A P H I C D E S I G N TO P 1 0

NO. 3 - B IS FOR BEER — BARCELONA IPA

Quim Marin - Barcelona, Spain www.behance.net/gallery/44813333/B-is-For-Beer-Barcelona-IPA

NO. 4 - SALON DU TREZO Studio Naam - Utrecht, Netherlands www.behance.net/gallery/41345917/Salon-du-Trezo

NO. 5 - CHA.OLOGY Alphabet . - Manchester, United Kingdom www.behance.net/gallery/41111003/Chaology

NO. 6 - GLOBAL CITIES 2017

The Design Surgery - London, United Kingdom www.behance.net/gallery/42221123/Knight-Frank-Global-Cities-2017


G R A P H I C D E S I G N TO P 1 0

NO. 7 - LITTLE BRAVE SHOP

The Bakery Design Studio - Moscow, Russian Federation www.behance.net/gallery/41375899/Little-Brave-Shop

NO. 8 - THE JUNGLE BOOK Levente Szabรณ - Budapest, Hungary www.behance.net/gallery/40746549/The-Jungle-Book

NO. 9 - ADIDAS - HISTORY BOOK Melville Brand Design - Munich, Germany www.behance.net/gallery/41940939/adidas-History-book

NO. 10 - 3RD INTERNATIONAL DIGITAL ART BIENNIAL Baillat. Studio - Montreal, Quebec, Canada www.behance.net/gallery/44636715/3rd-International-Digital-ArtBiennial


PLANET MEDIA - AD SPACE

Insight. Strategy. Ideas.

T +44 (0)1484 321000 F +44 (0)1484 321001 hello@planet-media.co.uk www.planet-media.co.uk


Typography and truth The New York Times ran an experiment which concluded that typography can influence our perception of the truth. For instance, if we read a fact that was written out in the dreaded Comic Sans, we'd perhaps view that fact differently than if it were written in a more aesthetically pleasing font like Helvetica.

F

or the uninitiated among you, a font is an assortment of type that shares a style and size and a typeface is the style or design of the font (i.e. bold, italic etc). Serif fonts such as Times New Roman and Garamond have small lines at the ends of character strokes. They're commonly used in books and newspapers, due to their high readability on paper. Sans serif fonts are a category of typefaces that do not use serifs.Various studies have come to the conclusion that sans serif fonts are more difficult to read on paper. That's why in print they are seen more often as headlines and captions. Looking past the physical properties of these typefaces, there is also the cultural significance. What does the font you choose say about you or your business, and what impact might it have? Serif fonts are associated with academia and authority, which may be important to you if you're

looking to instil feelings of trust in your reader. Or, if you want to align yourself or your brand with youth and modernity, a sans serif font would be the way to go. In the New York Times experiment, readers were shown a statement written in one of five fonts: Georgia, Helvetica, Trebuchet, Comic Sans and Baskerville. Interestingly, more people believed the statement when it was written in Baskerville – a serif font – than the other four typefaces. So, does the font you use really matter? If the New York Times is to be believed, then the answer is yes. Your font choice could really affect people's perception of you and your services - it may hold the power to make people choose your service over the competition, upgrade to a higher ticket product or even pay the premium rates you've always wanted to charge...

“Interestingly, more people believed the statement when it was written in Baskerville – a serif font – than the other four typefaces.”

Georgia Helvetica Trebuchet

Comic Sans Baskerville


EDC DESIGN

EDC DESIGN Creating art has always had a big influence on me. I’ve been drawing from a very early age and found it a place where my imagination could run wild and create the most inventive characters. I loved telling a story with images.

I

love to create bold colourful pieces with an edge. I believe you can mix the two and create something fresh. When I’m inspired by an idea, I generally create a mood board. I’ll carry out research, decide which colours work well and set out the feel of the image. I’ll generally hand draw a piece and then take it to my Macbook Pro. I’m influenced by a variety of things.

Music, fashion, nature, dance, beauty, film, make-up, anything that sparks something within me. I don’t think you can put a limit on inspiration and I’m always looking for fresh ways to come up with new ideas. My work varies from a variety of mediums. From hand drawn illustrations, to paintings and collages. At the moment I’m exploring digital art and currently building my website which should be up fairly soon!


EDC DESIGN


“We would tag everything, but we had rules. No churches, homes or small businesses.�


G R A F F I T I TO G R A P H I C S

THIRTY5 My name is Stephen Waterfield, I am the owner of 35 design/apparel. I have been interested in design, art and graffiti since I can remember. I grew up in the 80’s and 90’s. In the 80’s I was in junior school, graffiti and hip-hop were the “in” things as well as break-dancing. I think this is where my love of graffiti was born. In all the films and cartoons I watched there was always some sort of graffiti or breakdancing going on. My school was in a rough part of town and it backed onto a park. The walls surrounding the park there were littered with graffiti. Some of it was just tags and nonsense - but a lot of it was fantastic, and seeing it every day had a massive impact on me. I was always drawing at home and at school. I would cover my schoolbooks in illustrations of anything that came to mind, it was like an addiction. As I got older I got better and better at drawing, everyday I would be drawing, doodling and painting. When I was about twelve my friends and I started a crew, I really can’t remember if we had a name or not, but we would go down to the railway tracks with sharpie markers and tag the nearby huts. We thought we were proper writers! Over time our hand styles became better and better and we started using cans to tag. We would tag everything, but we had rules. No churches, homes or small businesses. These were very important to us, as we knew this would affect these people in a negative way. We stuck to signs, walls, abandoned buildings etc. When I left school at 15 I studied Art and Design at college. I loved it, drawing

all day long, and graffiti all night! I would go to bed around 10 and set my alarm for around 2.30am so I could get up and get out when the the world was asleep. I would wander around dressed in black carrying a backpack full of paint and markers. When I left college I didn’t get a job in design but carried on drawing and doing graffiti. Fast forward 5 years and I’m back at college, this time doing a graphic design course. This is where I learned how to use a mac and all of the design programs. The course changed how I perceived graffiti. It taught me that I could use graffiti as a tool in my work. I was good at graffiti but was getting the urge to do more design based work. These days I do freelance work for many people, still keeping my own style. I am launching my clothing brand 35 which I hope will be a success. I have created logos for hairdressing salons, shoe shops, builders, DJs and carpenters. I have my own style that I have honed over the past 30 years. As you can probably tell I am not that good at talking about myself - I like my design to speak for me. Instagram: @3irty5ive Twitter: @thirty5design Snapchat: @thirtyfive5 Tumblr: 3irty5ive Behance: @3irty5ive Facebook: thirty5ive Dropr: 3irty5ive


LO ST

“I love to work with different characters who are unique and have their own personality� Featuring: Gernot Edelmann

Ole Roesner Photographer


Deadlines or daydreams: when do designers get the most done? Writer / Connor Sherwood

So I'm sure no matter how long you've been in the field you've been faced with both sides of this coin; the free reign concept with plenty of time and resources vs the project that the client wants yesterday while everyone else is nowhere to be seen.

L

ooking at it now I'm sure 95% of us would hands down say the first is by far the most preferable option, but when you're actually there just twiddling your thumbs scrolling through pages of stock (and probably cute cat) images wishing the time away, is it really? Take a second to look back at the last time you were on a really thin thread with a deadline, did you get it done? Exactly. Whilst it might not be true for everyone, a lot of people, myself included, work far better when we don't have time to spare. Most of you are probably reading this thinking well obviously, because if we didn't handle pressure then we wouldn't get anywhere, am I wrong? Whilst you are right in thinking that, there is actually some science behind this. It's said that when a reward (in this case, a finished project) is further away we tend to lessen its value which is also known as hyperbolic discounting which makes perfect sense because if something isn't imminent then we focus less of our effort and attention on it. Another reason that we do this is due to us having a tendency to think of our past and future selves in the third person, for example have you ever been drunk and ordered "future you" a pizza for the next day to cure the hangover? (No me neither, but I'm sure some smart ass on

the internet has). I digress but it's true, if you think that there's something you can put off for your future self to do, we both know you're going to do it. Now as someone who coasted through college seeing how much partying (I mean gaming, c'mon I was no Steve Stiffler) I could squeeze in before actually grabbing my laptop and stash of redbull and cracking out 6 week projects in 24 hours. I can completely vouch for this. Unfortunately when it comes to work, things aren't that easy and we are faced with much higher pressure on a much more frequent level. As I said, while its true that loads of us strive under pressure, we all know that the productivity spike during chaos is much more useful with some organisation and planning. So for those likeminded folks who could do with just a little more method to the madness, if you aren't already familiar with it then I highly recommend having a read of something known as the broken window theory. A mid 1900's criminology theory that in its essence translates that by going through all the small problems and hiccups with your workflow you will in turn eliminate more of the large ones before they even occur giving you a clearer view of how to proceed.


“Some people don’t believe that a company’s visual identity is important. It really is and I could not stress that enough.”

BUSINESS BRANDING A VISUAL IDE

phloxii / Shutterstock.com

Writer / Kiki McMurrick

TK Kurikawa / Shutterstock.com

Whether you’re a designer, business owner, or brand the most important part of building your reputation is branding your company. It may seem like a long, tedious task but it’ll make running your business a lot smoother. Think about it as another aspect of your business that contributes to its success and organization. It’ll help you or your client’s business get the word out there by making sure it’s well represented and targeting the right audience. A business’ brand consists of their Brand Involvement, Strategy, and Visual Identity. Now, let’s break this down. The Brand Involvement just refers to where the brand is planning on getting involved. This is via social media, advertising, etc. With this the business must look at their target market and

plan accordingly. This involves a lot of marketing skills and patience. A business’ strategy consists of the personality, target market, and the brand’s values and beliefs. When a business creates a business plan this is what a lot of the research that is done will help you with. A company’s target market as well as personality and values will contribute greatly to their visual identity. As a graphic designer it’s part of our job to look at their strategy and come up with an appropriate visual representation of their company. Visual Identity When we talk about a business’ visual identity its referring to their logo, brand colours & fonts, and the brand’s imagery. Some people don’t believe that a company’s visual identity is important. It really is and I could not stress that enough. They say, “don’t judge a book by its


AND NTITY cover” but that is exactly what people do when they’re looking at your business. When someone goes out and buys their pets food, they aren’t going to go to a company that’s visual identity is straight up ugly or dated. Maybe in some situations this will help out the business more than hinder it but in most cases people want to go somewhere that looks professional, neat, clean, and up to date. Yes, trends play a HUGE role in keeping your business afloat, but that’s a whole different conversation. The reason visual identity is so important is because it’s how customers identify or remember a business; everything down to the colours and fonts used. usually and icon or lettering that represents your company as a whole. This is where the company’s strategy helps with the visual identity. You often want to look at your target market, mood, and personality. You also want to look at what the company does, of course. When looking at all of these things you want to make sure that whatever logo your business decides to go with, or if your designing a company a logo, that its appropriate within the parameters given. For example, you don’t want to create a logo for a pet store that’s a multi-colour butterfly. Simply because it doesn’t scream, “pet store”. Something along the lines of a collar or a feeding bowl would be more appropriate. You also want to make sure that your logo is simple, clean, and to the point. Simple logos are never a bad thing. In fact, I believe a simple logo

is the best way for a business to create their logo. Now, for some businesses, a complex logo suits their brand. That call is completely up to the business owners but, let me explain why simple is better. Firstly, it’ll be easier for people to remember what business the logo belongs to. If its simple then its easy to remember. Secondly, if you over complicate your logo, it could end up looking like a complete mess or, nothing like your original idea. And lastly, it almost always guarantees that the logo will be universal when it comes to web, print, and manufacturing copies of the logo; meaning it’ll look good no matter what. You want to stand out from your competitors. Your logo should also be distinctive and in correspondence with your brand’s colours and themes. Speaking of brand colours and themes… This is another big aspect to a business’ visual identity. This refers to the company’s colour scheme, fonts, layouts, etc. Again, these should be appropriate. These often reflect the business’ “mood”. When it comes to colour it’s recommended to do some colour research as well as create a mood board. A mood board is simply a document that is comprised of images from the internet that go along with the mood you’re trying to set with your brand. The most effective way to gather these images is creating a private Pinterest board and pinning things that match the mood the business is going for. If you’re a designer working with a client you can still create private boards, invite them to it, and ask them to pin things that match the mood they’re aiming for. This is often where you will get your colours as well as font ideas. With colour being one of the more important things when branding, it’s a really good idea to do some research. Every colour sparks different emotions and can often give people incentive to buy from you or even to avoid your business. There have been many studies that look into how colour affects mood and actions. It’s actually pretty neat. Information on this can be found on the Internet. There is just so much to say about colour; it’s almost better to just go out there and research it on your free

time. As a graphic design artist it’s crucial to know what colours do what especially when a client is asking you to assist them in their decision making. Lastly, a company’s visual identity includes any and all of the brand’s imagery. This refers to any product packaging, stationary, business cards, posters, flyers, marketing materials, and just any visual representation of the company or business. When creating brand imagery it often corresponds with the brand’s themes and logo. This is the most straightforward area of branding. Once you find a layout that works it should be universal for all of the brand’s imagery. You often see the same design on a business card as the letterheads, pencils, envelopes, etc. Like mentioned before you want your business’ brand to be neat, clean, and to the point. In this case repetition is the recommendation. You want everything to work together so when people see it, they think of your business. There is so much information that can be told about branding. As an artist or as a business owner, it’s really about the experience. The Internet will be your best friend. Always remember to keep it clean, simple, and to the point.


THE CUSTOMER IS ALWAYS RIGHT, RIGHT? We’ve all heard the phrase “the customer is always right”, and in most cases it’s very true. Short of the customer jumping up on the shop counter and screaming in your face, you’ve pretty much got to fulfil their every desire – regardless of how unreasonable that desire may be. In design, it’s a bit different. Now, don’t get me wrong, we always have to respect the client’s opinion. But, unlike retail and similar customer-facing professions, we don’t always have to agree. Imagine you worked in a clothes shop. A customer is trying on an outfit, and they think they look absolutely fantastic. The customer then gleefully asks for your opinion and, while the voice in your head is saying “take it off and burn it immediately”, you would always agree with them and tell them they look great. Now imagine you’re sat in the design studio with a client, and they’re looking over the designs for the business cards you just spent the day designing. In this particular composition you’ve followed the brand

guidelines and positioned their company logo in the top right of the card -modestly sized, leaving just the right amount of empty space. Immediately, the client’s reaction is to have you ‘blow up‘ the logo to fill all of that ‘blank space‘. That voice in your head returns, exclaiming unfiltered rage at the client’s lack of understanding of design and their own brand guidelines. Unlike the customer in the shop, you don’t necessarily have to agree with this opinion. This would be one of those moments where you need to employ the art of selling your idea with tact. As a designer it’s not just your job to create good design, your job is also to champion your own idea – and this sometimes means politely challenging your client’s opinion and trying to sway them to your point of view.


NEW POP! VINYLS COMING SOON

POPS R US

Resident Evil Pop! Vinyls Due February

www.popsrus.co.uk


Lost Pop! Vinyls Due March

S ADVERT

Guardians of the Galaxy Vol. 2 Pop! Vinyls Due March


SMOKE

ROBERT MACNEIL “As an outdoor fashion and art photographer I wanted something to capture the fluidity of life as it passes by us so quickly and I felt smoke creates that feeling. So beautiful, so uncontrollable and so colourful if you allow it.” Featuring: Ivy Melodie LoPatriello, Terin Rothernel, Jessica Chin King, Cassandra Loomans, Katie Jade Durham, Chloe Sugar


• Terin Rothernel (top left) can be found in the top 25 in Top Model Canada search.

• Ivy Melodie LoPatriello (bottom left) is also an up an coming rapper in Canada and the USA!

• Jessica Chin King (above) is an aspiring actress and has roles in various projects, including a walk on role in the new xXx.


The importance of photography Writer / Charlie Watkinson

Recently I was carrying my DSLR on my way back from college and I got talking to an elderly man. We talked for awhile about photography and one thing he said really mesmerised me “I would pay a lot of money for one of your photos, I wouldn't ask why you took it because it's your memory and you'll never relive it and it's a beautiful thing to capture”. This got me thinking about the importance of photography, not only photographs taken on an expensive DSLR but also phones. The art of photography is sometimes overlooked with cameras on smartphones upgrading with every new release, photographing in high quality is much easier and accessible than ever before but is sometimes pushed aside and forgotten. Smartphones are taking over DSLRs for everyday use, carrying around a big camera and lenses to capture an unexpected moment isn’t practical when you have a small device that is multifunctional in your pocket.

52,000,000 photos are shared daily on Instagram, people are taking more photographs than ever before. This is evidence that you don’t need a degree in photography to take an artistic photograph. More people have the chance to take photographs and that is something that should definitely be celebrated. Take selfies everyday and photograph your over priced coffee that has a awesome pattern on it, every photograph you’ve ever taken is a memory you can’t relive. Each photograph is special for every individual for a different reason. Never be ashamed of taking photographs but also remember to live in the moment so you have stories to go with the photos.


WE CREATE FURNITURE. OBJECTS. SIGNS IN SPACE.

WWW.VANK.PL


F E AT U R E D P H OTO G R A P H E R

RAMONA VIALARD Ramona Coral Vialard is a photographer from Montreal, Quebec. She’s been taking photos for as long as she can remember, buying her first digital camera at the age of eight. Her other hobbies include traveling, going to concerts, dancing and eating!

Featured Models Johanna Desjardinsk, Ramona Coral Vialard


P H OTOJ O U R N A L : B E L E N M A R K E T, I Q U I TO S , P E R U

Geraint Rowland Photographer


T

hese photos were taken earlier this year in the village of Belen in Iquitos, Peru. The entire village is flooded for several months each year by the nearby Amazon river. The only way to get around is by boat so even the children learn to navigate and paddle in small canoes from an early age. Our local guide maneuvered us around in a motorboat for a couple of hours exploring the streets which at that time of the year become waterways. The area is fascinating, and our journey through it gave us a brief insight into life there. Around every corner were amazing photo opportunities, with the local people using the river to work, travel and play. Children would sit selling food and produce to passing boats, Men would offer taxi boat services or fish, and the Women would wash the family clothes in the river. Some 65,000 people live in the Village of Belen on either moored floating houses or houses on stilts. It is a very poor neighbourhood with many of the people living in impoverished conditions.Yet those we encountered seemed genuinely happy: laughing, smiling, and greeting us as we passed by. I took all the photos candidly and found that converting them to black and white gave them more emotion.


This is the page where take a minute to show some appreciation for our awesome submitters. If you have a submission for the next issue just fire it over to hello@dezinemagazine.com with a bit of info. Thanks to all who submitted for the first issue!

Selected Projects SPICY SAMBA SAUCE Spicy Samba Sauce was a 2nd year FMP (final major project) packaged product which is dedicated to supporting & promoting the Rio 2016 Olympic games. As a massive fan of sport it only felt right for Shaun to work on a project for Rio 2016. The project brought together his creative artworking skills (illustration, painting) with some digital design (Photoshop, Illustrator) to create a colourful, spicy product to support the massive samba party in Rio. A social media campaign was also created to promote the product.

If you liked Spicy Samba Sauce be sure to check out Shaun’s website shaunmulhern.wixsite.c om/graphicdesigner NAVARINO ELECTRIC SYSTEMS Joe Berry, a graphic design student at Salford university, is currently entering into the third year of his degree. During his studies, Joe was tasked with completely rebranding the company Navarino Electric Systems. The client required a new logo, branded stationery and front-end visuals for a possible website. The meticulous brief from the client required Joe to produce a very professional brand that was still inviting and friendly.


Your next bright idea Full service website and graphic design agency pwarcreative.co.uk | 01484 506955 | info@pwar.co.uk


GET SOCIAL Liked what you saw in this issue? Want to see more of the artists featured? Check out their social media profiles!

Kara Clifford

EDC Design

Website: www.karaclifford.co.uk Instagram: @3dc_design Instagram: @kara.clifford Twitter: @E_D_C_Design Behance: Karaclifford

Robert MacNeil

Kiki McMurrick

Website: www.robmacneil.com

Website: www.kikimdesigns.com

Instagram: @robmacneilphoto

Instagram: @kikimdesigns

Twitter: @mycamerahatesme

Twitter: @kikimdesigns

Ole Roesner

Geraint Rowland Facebook:

Instagram: @iam____ole Twitter: @Artist_Ole

John Thatcher

@geraintrowlandphotography Instagram: @grrphotography

Ramona Vialard

Website: www.john-thatcher.com Instagram: @johnthatcher Tumblr: @johnthatcherphoto

Stephen Waterfield (Thirty5)

Instagram: @chillcoral Tumblr: www.chillcoral.tumblr.com

Charlie Watkinson

Facebook: @thirty5ive Instagram: @3irty5ive

Instagram: @charliewjane

Twitter: @thirty5design

Thanks to all of our featured artists for the premiere issue!


Corpporate Brandin ng Website Design WEBSSITE Development Design For Print Exhibition Graphiccs Advertising Pacckaging Design n Recrreational Desiggn

moonb box-design n.com info@m moonbox-design. g com


THANKS FO Follow


OR READING w us:


www.dezinemagazine.com


DEZINE Issue 01